Because this is a fully funded documentary which means I don't have to raise any additional money for it , this film will be delivered to PBS NOVA by the end of the summer. It's a tight production schedule. On that note, I'll be spending less and less time here on FB and on social media and will spend the majority of my time working on this and various film projects that I am developing, and finishing. More great news from me and my company God Bless the Child Productions is on the way!
Mad love to everyone who supports my film work. I greatly appreciate you! Love, B. Moderated by yours truly. Thursday, April 29th, from 7pm to pm! Please spread the word!! Storyline Edit. Director Byron Hurt, former star college quarterback, longtime hip-hop fan, and gender violence prevention educator, conceived the documentary as a "loving critique" of a number of disturbing trends in the world of rap music. He pays tribute to hip-hop while challenging the rap music industry to take responsibility for glamorizing destructive, deeply conservative stereotypes of manhood.
Critically acclaimed for its fearless engagement with issues of race, gender violence, and the corporate exploitation of youth culture. A hip-hop head weighs in on manhood in hip-hop culture. Add content advisory. User reviews 1 Review. Top review. This is one of those documentaries that is much too short and only goes so much into one part of an issue to make an impact. The subject matter - looking at what manhood means in hip-hop and rap and, by extension, what it means if that manhood gets questioned or, worse yet gasp if there's femininity or homosexuality in that world of music - is important, and the filmmaker Bryan Hurt has the noblest of intentions.
He is also a I say happily since, from even my limited perspective I know somewhat about the current state of rap and hip-hop if for no other reason than that's what is now a major chunk of pop music today, still, after these decades , rap has changed in the decade since this came out. How much the internet has grown is a big part of that, but it's also that as a culture, as much as some people ranting and raving on Twitter on both sides, both liberal and conservative in the black and white worlds , newer voices are being accepted like Frank Ocean and Kendrick and Kanye and even rawer ones on the female side like Nikki Minaj who may be like the example of a rapper in the opposite direction, but it occurs to me typing this the director here doesn't get a single female rapper on camera as I can recall, and I'm pretty sure they were not like the great white elk of the genre.
It has some good music video clips sprinkled throughout, most notably of Nelly's "Tip Drill" which I didn't even know was a thing , and even DMX even here, in , Donald Trump makes a goddamn cameo for a few seconds, thanks DMX , and some insightful interviews with the likes of Chuck D, Eric Michael Dyson, one gay rapper who's name escapes me now, sorry and Talib Kweli.
At the same time though, it's not indicative of things how they are now, and maybe it was only a sampling of what was back then. The production quality is decent but unremarkable - it got played at Sundance, but it seems like something shot for television, and its thesis gets repeated too much.
Quinoa Nov 8, Details Edit. Release date January United States. As a college football player who questioned the received messages of hip-hop as he moved into a career as a gender violence prevention educator, Hurt found himself looking at something he had taken for granted in a new light.
What makes this film interesting for class use is the position Hurt manifests. He is not apologetic about hip-hop. Indeed he has a gospel to deliver, and that message is that hip-hop has become an exploitative and commercial art that enforces and reinforces values that are often decried as destructive by cultural critics. The film focuses most intently on the lack of diversity in hip-hop as it is distributed by the media conglomerates such as Clear Channel following the systematic deregulation of radio and television in the United States.
The centralization of hip-hop into fewer voices ends the film. The film focuses on a dominant theme of hyper-masculinity with the subordinate qualities of homophobia, sexism and violence. Through interviews with various hip-hop performers the film maker develops a convincing case of social dysfunction that is to be found in most commercial hip hop.
An example is a scene featuring an interview with the rapper Busta Rhymes. Later in the film, Hurt asks Busta Rhymes a question about his feelings of homophobia. What follows is a moment in the film where Busta Rhymes refuses to address the question in a strangely diplomatic way that manages to express disapproval of homosexuality while at the same time trying not to offend anyone who might listen to the interview.
This evasive response is found in other interviews as well. It seems when Hurt openly questions a person about hip-hop in a way that might be construed as criticism the person being interviewed usually invokes an unaccountability for their lyrical content, blaming culture, society, the desires of the marketplace and other aspects.
The transition of Hurt from the interviewer asking questions to the commentator criticizing the interviewees is repeated in the film more than once. This technique is common among social action documentaries and often follows a social engineering desire to raise awareness about a particular issue. To be fair, this is totally within the mission of the documentary and its educational mission.
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